Here’s Something to Help With Your Plotting

Stories containing just one character are very rare. Keeping track of two or three in your story should be relatively straightforward. But what about stories that you want to contain many characters? Think about the many that Agatha Christie often added to her stories. It can be very difficult and confusing keeping track of all of your characters, especially the times they end up in the same place and time. At what point do you want their interaction to be relevant to your story’s outcome?

Thankfully, someone has come up with an easy way for you to keep track of your characters and what they are doing. Author and entrepreneur Gabriela Pereira, has provided a nice description of how she works with her stories over at the NaNoWriMo Blog with a piece called “NaNo Prep: Outline Your Story Like a Subway Map.”

You can read a copy via the following link –

https://blog.nanowrimo.org/post/166302962291/nano-prep-outline-your-story-like-a-subway-map?

Do you use a different or better method that you would like to share? Let me know if you have.

Good luck with your plotting and outlining.

If you would like further ideas of how to take your stories forward or incorporate twists and turns, check out the following books if you haven’t already done so, and happy writing.

 

 

 

 

 

 

 

 

 

 

More Help Available for the Established and Aspiring Writer

Here are details of the latest book in the series to help writers get their police and policing facts right, first time.

235 Crime Fiction Prompts and Answers to 59 Frequently Asked Questions

This book is based around 59 of the most frequent questions I have been asked about the British police by novice and seasoned writers alike.  It has also led to 235 prompts to help develop your story, take it in different directions or simply to stir your creative juices.

You will find accurate and up to date information about crime and policing, along with 45 hyperlinks to help you research some of the answers more deeply or to find TV programs that may help immerse yourself in the real world of policing in the UK.

This book is split into five parts, each focussing on a different aspect of policing.

• Section A concentrates on police officers
• Section B explores general police incidents
• Section C examines criminal investigations
• Section D focuses on crime scenes and
• Section E provides some general advice for writers.

You don’t need to read from the first page to the last, just dip in – dip out as and when you feel the need.

So why not treat yourself to 235 Crime Fiction Prompts and Answers to 59 Frequently Asked Questions

Please feel free to pass this information onto any of your friends or anyone else you think may be interested to hear about the availability of the book.

If you would like further ideas of how to take your stories forward or incorporate twists and turns, check out the following books if you haven’t already done so, and happy writing.

 

 

 

Do You Want to be the Next Agatha Christie?

It’s not often that you can acquire a neat and simple Infographic to help deconstruct a successful author’s writing methods, so it’s great to be able to point you in the direction of one relating to Agatha Christie.  This diagram is provided free of charge by The Blackpool Grand Theatre.  You can view it by visiting https://www.blackpoolgrand.co.uk/decoding-agatha-christie-infographic.

Thanks to Holly Barry of The Evergreen Agency for bringing this wonderful resource to me and subsequently your attention.

If you would like further ideas of how to take your stories forward or incorporate twists and turns, check out the following books if you haven’t already done so, and happy writing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5 Ways Coronavirus Can Affect Your Story

The following doesn’t just relate to the present Coronavirus pandemic but applies to any other pandemic really.

Having lived through and hopefully survived this pandemic, you may be wondering how on earth you can incorporate such a thing into your fiction, especially if you are writing in any genre but horror/dystopian.

Despite the massed panic portrayed in movies, emergency planners work on the assumption that most people will want to carry on their lives as normal and if they can’t, they will work within their government’s guidelines.  Does this sound familiar to you regarding Coronavirus?

Many things will work pretty much as they do in normal times, maybe a little more chaotic or limited in service or delivery but there will not be a total breakdown of society.

So how does this help with your fiction?

Policing and crime will still exist (probably not in harmony) and the general public will still regard the police as an organisation they can turn to, even those who mistrust the police turn to them, even if reluctantly when they need them to sort out a problem for them.

Things that have changed and will during any similar event in the future is that the police will be over-stretched, slower to respond at certain times of the day and in certain circumstances.  Things they deem to be of a minor nature (such as kids playing football against someone’s wall) may not even be responded to.  Those of a more serious nature will receive a response but the number and type of resources that turn up may be insufficient in number or experience.

The police assume that at any given time (in normal times), they will have one-third of their staff unavailable due to annual leave, sickness, training, or court appearances.  In turbulent times, this expectation will rise to 50% of their staff being unavailable.  So you can imagine the logistical problems of being able to round up twenty police officers to deal with a fatal road traffic accident during a pandemic.  A supervisor, typically a Sergeant or Inspector will have to work out what resources they can call upon, what their capabilities are, and deploy them accordingly. So in this example, how few officers can they get away with at any given incident because the ideal number is not an option.  This may mean that the scene cannot be made safe through road closures, thereby allowing traffic to flow dangerously close to the scene, possibly injuring or killing one of the officers attending.  Due to insufficient officers being at the scene, maybe your suspect could evade arrest for causing the accident or being unfit to drive through drink or drugs.

An incident requiring the attendance of armed officers may start off and may be brought to a conclusion by officers who are unarmed because the armed officers are too few in number or otherwise engaged to deal with this incident. This could result in unarmed officers being placed in danger or at worse injured or killed.  Alternatively, the armed suspect may be able to slip away unnoticed.

A crime that ordinarily requires a fingertip search to be carried out over a large area may end up poorly searched by untrained officers over an area that they can manage rather than one that should be searched.  This may well lead to vital evidence or clues being missed.  Can you use this to hamper your fictional investigation?

Roadblock or checkpoints that may be set up to catch escaping armed robbers may not be put in place due to staffing shortages, allowing the suspects to evade capture.  Being less likely to be caught may lead to an increase in the number of crimes the robbers commit, the time they spend on a job, and the way they interact with the victims and witnesses.

Fewer officers working, increases the load placed upon those that remain at work.  This strain leads to bad tempers, poor judgement, mistakes, or avoidance of doing the right thing.  Could this apply to one of your officers or could your Senior Investigating Officer’s intentions be hampered by an officer so disposed?

Alternatively, because during a pandemic lockdown there are fewer people on the streets, maybe your police officers will find it easier to spot the “baduns” using the streets.  Having fewer members of the public to hide amongst, they are easier to find either on the streets or observing the lockdown requirement and staying at home (or their mum’s house).

Hopefully, these five ideas may help your story development or stir your creative juices.  If you would like further ideas of how to take your stories forward or incorporate twists and turns, check out the following books if you haven’t already done so, and happy writing.

 

 

 

Seven Lengths You Could Go To

Especially in the case of an “organised” suspect, it is usually they who go to any lengths to avoid detection. However, in one case in the headlines at the moment, it was the “witness” that went to great lengths to mislead the police, to lie about the abuse he suffered at the hands of innocent, prominent men.  Not only did it become a very costly investigation financially (£2 million) but it also tarnished the name and reputation of several high-profile men.

Carl Beech was that victim and witness who was finally brought to justice as his lies, that contradicted his allegations and destroyed the case he tried to build, were exposed.

The following article shows seven examples of the lies he was caught out on.

In summary, he lied about the injuries he had allegedly received at the hands of his abusers. He also lied about the effects such alleged abuse had on him and his life. He lied about a weapon used on him that turned out to be one of his treasured memories. He even invented other victims, going so far as to purport to be one of them.  Read the full report below.

https://news.sky.com/story/amp/carl-beech-seven-lies-that-gave-vip-paedophile-accuser-away-11768431

Could you use any of these lies and revelations in your stories?

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images. 

 

 

 

Should You Interview or Interrogate – That is the Question?

In some countries, law enforcement agents routinely conduct interrogations.  In the UK, the police NEVER interrogate anyone, not even the baddest of people.

Interrogation is a nasty word.  It conjures up images of torture, violence, deprivation and psychological mind-games.  None of these things is allowed by law, ethics and morality in UK policing.

The Police and Criminal Evidence Act (PACE) 1984 dictates how suspects should be treated in the UK (except Scotland where the Criminal Justice (Scotland) Act 2016 applies instead).  Even duress and oppression are big no-nos.

Whilst both witnesses and suspects are interviewed in the UK, only suspects are given the protection of PACE (or the Criminal Justice (Scotland) Act 2016 in Scotland).  This doesn’t mean that witnesses get a worse deal than suspects.  Witnesses are free to come and go as they wish.  Suspects on the other hand, once arrested, are no longer at liberty.  They effectively become prisoners, locked up in a police cell.

The general run of the mill witness will be more than happy to help the police with their enquiries.  They will freely provide an account of the events they have observed and/or been a party to.  They may even have been victims as opposed to spectators (witnesses).

Some witnesses will be classed as “vulnerable.”   This could include both young and old people as well as those with learning difficulties or mental ill-health.  Vulnerable witnesses should be afforded the protection of the “Achieving Best Evidence” principles e.g. interviewed by specially trained interviewers, video and audio recorded, often in a comfortable, non-threatening environment.  This enables the vulnerable witness to feel more relaxed and safe, the flow of the interview to happen naturally, free from interruptions or prompting.  The fact that the interview is recorded also gives others a chance to see that the interview was conducted fairly, without leading questions and to allow observation of non-verbal signals.

Witness interviews are usually conducted without being recorded (except as mentioned above).  They may provide a verbal account of what they have experienced and police officers or (in usually minor cases) a civilian police employee will make a note in the form of a statement, which is eventually signed by the witness as being a true and accurate account of what they have said.  Some forces do employ civilians to specifically take statements from witnesses in serious cases such as murder.

Interviews with suspects in a police station are always recorded, under caution.  Sometimes just audio but usually in more serious cases video recordings are made.

Whilst the police have the right under PACE/Criminal Justice (Scotland) Act 2016, to ask anyone questions, there is no obligation on a person to answer those questions.  Most witnesses are happy to speak to the officer; most suspects are not and often invoke their right to remain silent.  The suspect may believe that this is their best option but at times it may be their worst.  There are occasions when their refusal to answer questions is put before a court and if they then try to offer an excuse or alibi, it can be discounted by the court if it was not mentioned in the original police interview.  Additionally, the silence could be regarded by the court as an admission of guilt, should the suspect refuse to answer pertinent questions.  After all, the main purpose of the interview is to allow the suspect to offer their side of the story, explanation or alibi.

Interviews conducted with suspects outside of police premises are rarely recorded other than by way of a written statement or written record in a police officer’s pocket notebook.

So, have you been getting your interviews right with either your witness or suspect?

Please don’t interrogate them if your story is UK-based.

Additional Resources

Crown Prosecution Service (CPS) information for Victims and Witnesses can be found here

CPS Guidance on Achieving Best Evidence in Criminal Proceedings can be found here

National Police Chief’s Council Guidance on Visually Recorded Interviews can be found here

The Criminal Justice (Scotland) Act 2016 can be found here

 

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images. 

 

 

 

More Help is Coming Your Way

Do you find that not many stories or TV dramas spend much time in police cells?  Suspects simply tend to be arrested and interviewed before being released, appearing in court or going to prison.

Believe it or not, there is a whole lot more going on inside those police cells and therefore scope for a lot more to happen in your stories.  You could create or increase conflict between characters; sow information; provide back-story; add twists or simply complicate matters even more.

To help you learn about police cells, procedures and to lend your stories an air of authenticity that can only come from greater detail and inside knowledge, I have just released A Writer’s Guide to Police Cells and Custody Procedures in the UK.

Inside you will find chapters describing what a custody suite is, what it contains, along with who works and visits there.

You will also find out what happens to suspects as they enter custody, throughout their time in detention and how they are subsequently dealt with.

Within the 134 pages, there are at least 19 ideas of how you could use some of the information provided, along with links to 32 other resources freely available via the internet.

To get you copy, simply click on the above book cover-

If you’re still unsure, just have a look at the extensive Table of Contents to see just how much is covered and the amount of detail that is provided.

 

Chapter One: 1. What Are Police Cells and Custody Suites?
Police Custody Suites
Home Office Approval
HMICFSR Inspections
Description of a Custody Suite Interior
Holding Area
CCTV/Microphones
Custody Desk/Counter
Biometric Rooms
Fingerprint Room
Photograph Room
DNA Sample Room
Breathalyser Room
Emergency Strips
Types of Cell
Forensic Search Cell
Report Writing Room
Consultation Room
Interview Rooms
Interview Monitoring Room
Medical Room
Food Store
Kitchen
Prisoner’s Lockers
General Storeroom
Bedding
Prisoner Clothing
Cleaning Equipment
Stationary
Staff Rest Room

Chapter Two: What Staff Work in a Custody Suite?
Staff in General
Custody Chief Inspector
Custody Inspector
Custody Sergeant
Detention Officers
Matron
Cleaners
Contracted Staff

Chapter Three: What is the Booking in Process?
Arrival at the Custody Suite
On Arrest
Necessity Test
Prior Arrangement
Answering Bail
Wanted on Warrant
S136 Mental Health Act
Police Protection Order
Prison Production
Reason for Arrest
Violent Prisoners
Fit to Detain
Personal Details Recorded
Rights Given and Explained
Searched
Intimate Searches Conducted
Seizure of Property
Custody Record
Biometrics and DNA

Chapter Four: What Happens During Police Detention?
Placed in Cell
Types of Observation Carried Out
Medical Examination
Evidential Samples Taken
Enquiries Carried Out
Fit to Interview
Legal Consultation
Interviewed
Reports Written
Linked to Police IT Systems
Ability to Listen to Interviews
Meals and Drinks
Pace Clock
Custody Reviews
Identification (ID) Parade
Detainee Complaints
Deaths in Custody
Contingency Planning and Evacuations

Chapter Five: Who else may be Present in a Custody Suite?
Legal Adviser
Police Staff
Health Care Professionals
Social Worker
Referral Scheme Workers
Appropriate Adult
Interpreter
Prisoner Transport Staff
Independent Custody Visitors
Builders/Maintenance Staff
Other Enforcement Officers

Chapter Six: What is the Release Process from Custody?
When to Release?
Fit to be Released?
Return of Property/Clothing
Disposal Method
Transferred into the Custody of Others
Refused Charge
No Further Action
Final Warning/Reprimand
Caution
Bailed to a Police Station
Charged and Bailed
Charged and Remanded in Custody

Chapter Seven: Useful Resources
Websites of Use
Useful Books and Documents
Useful TV Programmes

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images below –

All you Need to Know About Police Drivers

It costs a lot of money to train a recruit to become a police officer, so where savings can be made they are.  Whilst it isn’t essential that a person holds a full driving licence to be eligible to join the police, it is, however, an advantage to hold one, as it may be one of the criteria used to sift out applicants when there has been a large response to a recruitment campaign.

A student police officer who doesn’t hold a driving licence is not an effective unit.  They can only be deployed on foot patrols or office/admin duties unless they accompany an officer who can drive or are chauffeured about.

Their opportunities to experience a wide range of incidents are also limited by being a non-driver.  Therefore, they may be less competent than their driving peers.

Those recruits that do hold a full driving licence may (subject to a force’s policies) be able to drive a police vehicle more or less, from day one of their service.  Upon either completing a course or passing a test, they may become a “Response” officer, meaning that they can drive at speed with blue lights flashing and siren sounding.  Without being an approved response driver, they will not be permitted to drive to an emergency incident at speed.

Depending on the size of a police force and their policies, there may be further driving courses for an officer to attend and pass.  These may include van, surveillance, traffic and motorway driving as well as motorcycle riding courses.  Each one requires the officer to either pass a test or successfully complete a course for that type of vehicle or role.

Some forces have their own driving schools, staffed by police officers, civilian staff or a mixture of both.  Smaller forces may send their officers to another force driving school/training unit.

Only a few forces in the country have the capability to deliver “T-PAC” training, which is Tactical Pursuit And Containment driving that teaches officers how to safely bring a pursuit to a successful conclusion by eventually boxing a vehicle in so that it cannot continue to be driven.

As things currently stand, a police officer can be prosecuted for the manner of their driving, even when trying to uphold the law.

The Home Office under Sajid Javid, plans to change the law so that highly trained police drivers are allowed to pursue suspects,  whether in or on a vehicle, without fear of being prosecuted for driving contrary to the standard expected of everyday drivers. https://www.theguardian.com/uk-news/2019/may/02/sajid-javid-proposes-legal-protection-for-police-who-crash-cars

What police officers do you have in your stories?  Are they required to be trained drivers and if so, at what level?  Does their ability or lack of it to drive at certain level create problems or conflict in your story?

Is your SIO off duty and too drunk to drive so needs picking up and taking to a crime scene but the only officer available to assist happens to be a non-driver?  How will your SIO react?

For more insight into police driving standards, methods and experiences, the following TV documentaries are worth watching-

Motorway Cops (BBC1)

Police Interceptors (Channel 5)

Sky Cops (BBC1)

Traffic Cops (BBC1)

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images below and watch out for the release of the forthcoming Writer’s Guide to UK Police Custody and Cell Procedures.

 

2 Links to get Your Writing Ideas Flowing

If like me, you find it easy to assimilate information when it is presented visually, then I am sure you will find the following link (below in Bold) very interesting.  If you aren’t visually inclined, there is some text on it too that you will also find useful.  Many authors spend much thinking time figuring out how they are going to dispose of the bodies (fictionally speaking of course) and get away with murder.  The linked infographic depicts 10 Ways to Cover Up a Murder.  Just don’t try it in real life.  I won’t vouch for you at your trial.

The second item produced by the Metro, describes just What Happens to a Human Body After Death. BE WARNED – IT IS GRAPHIC but it gets the points across in an easily understandable way.  The points it alludes to may just come in handy when you have a body found in your stories.

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images below and watch out for the release of the forthcoming Writer’s Guide to UK Police Custody and Cell Procedures.

How to Get Police Drones Into Your Stories

Have you ever considered using police drones in your fiction?

If you haven’t, now may a good time to think about it and to help you, I’ve put together a short piece about them, their usage and a few thoughts about how they could be incorporated or not into your stories.

Dorset, Devon and Cornwall Police formed the first dedicated “Drone Team” or unit in November 2015 partly in response to having their budgets slashed and partly to provide much needed cover that the National Police Air Service (NPAS) helicopter couldn’t provide.

Today, more than two-thirds of UK police forces either have their own or access to another force’s “Unmanned Aerial Vehicles (UAV) or drones. Generally, the larger the force, the more UAVs and trained operators they have. West Yorkshire Police, the fourth largest police force in England has 11 drones and 60 Civil Aviation Authority (CAA) accredited and qualified remote pilots or operators.

The West Midland Police paid £28,000 for their three drones and seven officers to be trained in their use out of funds obtained via the Proceeds of Crimes Act.

The drones come in various sizes with varying capabilities. They are battery operated, take off and land vertically, much like a helicopter does. Depending on their size, they can stay airborne for around 20-45 minutes, some in all weathers. The batteries are charged either in a building or from a suitably equipped vehicle. They can operate up to 400 feet (120m) high and fly up to 40 miles per hour. CAA legislation doesn’t allow them to be flown any higher so as to avoid collisions with aircraft that do not fly below 500 feet. The drones can be fitted with High Definition (HD) cameras, HD video recorders and/or thermal imaging cameras and are capable of providing a live-feed to commanding officers and operators.

CAA regulations stipulate that the drones must not fly more than 500 metres from the pilot and remain in their view at all times unless a second pilot is used.

Police drones are not used for general surveillance of the public (in the way that town centre CCTV cameras are deployed). They will be used in crime hot-spots to target criminals, areas where large events (football matches, protests) take place, serious incidents such as major crime incidents, road traffic collisions or industrial accidents occur and to search areas difficult for officers to search by foot.

Greater Manchester Police used their drones to crack down on crime on the city’s transportation network, whilst Norfolk Police used theirs to find a missing 75 year-old man wandering lost around dense reed beds. Dorset Police have used theirs to help tackle wildlife crime. Kent Police produce a monthly list of when a drone has been used and why.

Police drones will not replace the need for NPAS helicopters but will free them up to be used for longer on more serious and complex operations such as pursuits and fast moving surveillance operations or where there is the need for a distance of more than 500 feet to be maintained between a drone and its operator.

Scientists based at Cambridge University and in India are working on a project to develop artificial intelligence software that can automatically and instantaneously spot violent or suspicious behaviour in crowds, from the air. Using shop bought drones fitted with innovative software, they have been able to spot when a punch is thrown, a kick launched and even a gun pulled out, with a very high degree of accuracy, within a small crowd. Maybe in the future, UK police forces, which are amongst the World’s most enthusiastic adopters of drone technology, may deploy such UAVs as these in development, to keep an eye, 24 hours a day on our streets, both to keep us safe and to alert traditional resources when something is afoot or amiss.

Watch a video about drones, produced by Devon and Cornwall Police at https://youtu.be/O635iNjfI7M

You can follow the use of and issues around UAVs by following on Twitter @DronesWMP, @PoliceDrones and @lincsCOPter

Also keep your eyes and ears open for forces such as Devon and Cornwall Police offering courses to members of the public to help them make sensible and legal choices when flying their drones.

So, how are you going to fit police drones into your stories?

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images below and watch out for the release of the forthcoming Writer’s Guide to UK Police Custody and Cell Procedures.

Improve Your Writing with Policing Partnerships

Ever since the late nineties, when police budgets began shrinking, police forces in the UK have sought ways of collaborating with each other.  Examples of what form this has taken, can be found in the East Midlands where Leicestershire, Lincolnshire, Northamptonshire and Nottinghamshire Police are working together in many different areas vital to policing, ranging from major crime investigation through to IT infrastructure.

South Yorkshire and Humberside Police decided to share one Human Resources department whilst Humberside, South Yorkshire, North Yorkshire and West Yorkshire Police collaborate on a range of policing issues, including Roads Crime, Intelligence, Organised Crime, Special Operations and Witness Protection.

Most recently, British Transport Police (BTP) have invited the Royal Military Police (RMP) to allow their soldiers to join BTP operational patrols and CID at Liverpool Street and Waterloo train stations, in London.

BTP Superintendent Matt Allingham said: “This is a great, practical way to bring two specialist police organisations together to share expertise and enhance what we do.

“By giving Royal Military Police personnel the opportunity to shadow our teams at two of London’s busiest stations they’ll be able to gain first-hand experience of wider policing. There are clear benefits brought by the increasing uniformed visibility at our key transport hubs in relation to crime prevention. The uniqueness of having joint military and police personnel on patrol also provides a conversation starter with the travelling public and assists with engagement in line with NPT principles. Our initial pilot based at Waterloo was a big success and we’re pleased to be able to expand the scheme so more officers can get involved and hope to roll the scheme out even further in future.” – Source http://media.btp.police.uk/r/16261/new_partnership_strengthens_links_with_royal_mili

Have you ever thought to include collaborating police forces in your stories?  If not, give it a go.  It will give you more freedom to roam geographically at least (beyond force boundaries).

Don’t forget to get your very own copy of the following guides, if you haven’t already, by clicking on the images below and watch out for the release of the forthcoming Writer’s Guide to UK Police Custody and Cell Procedures.

A Week in the Life of a London Murder Detective

There is an interesting insight into the work of a Met Police Homicide detective in London provided by the BBC at the following link – https://www.bbc.co.uk/news/uk-46838618#

Have a look and it may just help your story ideas.

Line of Duty

Once in a while, a TV drama comes along that grips the nation.  It may have been Happy Valley, Luther, Endeavour or The Bodyguard.  The latest riveting watch just so happens to be the 5th series of The Line of Duty.

Are you one of 8 million viewers recently transfixed?  How do you feel about it?  Did it grip you and drag you reluctantly along from one Sunday to the next Sunday?   How did you find the depiction of the police and their procedures?

The newspapers haven’t been slow in revealing what currently serving and retired police officers thought about the latest series.
The following had this to say to the Guardian:

I only ever watched one episode of Line of Duty and thought it so far-fetched I could not stand any more. My wife hated me constantly pointing out inconsistencies and banned me from watching any police dramas.
Peter Fahy, former Chief Constable of Greater Manchester Police 

I have no clue who H is, but it can’t be Ted. He’s the sort of boss we’d all like to have – before he dropped himself in it. He’s supportive, wants to get the job done and is not afraid to get his hands dirty. But then there is this sort of dodgy business dealing that he’s been involved with. It’s a bit worrying, but I hope to see him emerge squeaky clean.
Chris Hobbs, former officer in the Met 

I find it ironic that you never see this many minorities in specialist departments apart from in TV programmes like Line of Duty. I think it’s cynical, a marketing tactic where minorities are brought in to sell the programme.
I was a gold commander and a firearms operator. There is a scene where firearm officers are waiting at the warehouse, after a tip that the main gangsters are planning to steal from it. The team suddenly get another call and just leave – but it’s so clearly a distraction call. That would never happen in real life. You would always leave at least one officer to stay.
Dal Babu, formerly a gold commander in the Met 

I was a detective superintendent in the Met’s anti-corruption unit, a role quite similar to Ted Hastings’. But I never came across any fridging – the practice of storing dead bodies in freezers – in my career.
I advise on the script for Line of Duty. My job is to help make the series appear authentic, in terms of the language used, the acronyms, the uniforms, what the cars look like and the kind of firearms officers have – things like that. Some officers say to me: “Why is it so negative?” I’d have a different spin on that. I’d say it shows that there is a dedicated force who are there to root corruption out.

It is a drama series not a documentary. But that’s the advantage of drama: if it was entirely accurate it would be far more plodding and less dramatic.
David Zinzan, script consultant, formerly a police commander 

Line of Duty is great TV that hooks you in emotionally and intellectually. I have worked in professional standards departments and anti-corruption. With that experience, sometimes watching you can feel a bit affronted. Firearms operations and surveillance operations, the use of informants and undercover officers are so professionally managed with such a high level of accountability and scrutiny. You can’t help but think of your colleagues, who work hard in those units with great courage, and you sort of feel they are sold short.

But then you have to laugh at yourself and remind yourself that it’s fiction and entertainment and it keeps so many of us, including police, hooked.
Helen King, formerly an Assistant Commissioner at the Met 

https://amp.theguardian.com/tv-and-radio/2019/may/03/it-keeps-us-hooked-police-have-their-say-on-line-of-duty

Meanwhile, the Daily Mail reports that Chief Superintendent Chris Todd who is the head of Professional Standards at West Midlands Police took to Twitter to answer questions from curious TV viewers.

The Chief Superintendent is responsible for teams who vet officers and staff, investigate complaints and misconduct and the counter-corruption unit, which is equivalent to AC-12 on the television series, much like Line of Duty’s Superintendent Hastings, played by Adrian Dunbar.

Rating the show five out of 10 for accuracy, the ‘real-life Hastings’ revealed that police procedures in the show, some of which have featured in every series, bear no resemblance to reality.

Lie one: Interviewing officers have to be one rank higher 

For instance, officers being investigated for corruption do not have the right to be interviewed by someone at least one rank above them, even though this is standard in the show.

A common refrain in AC-12 interviews depicted in the show is that the officer being investigated has the right to be questioned by another who is at least one rank senior.

And in series four of the show DCI Roz Huntley’s police representative makes a point of asking that questions come from Ted Hastings, who is ranked higher than her, and not Jamie Desford.

However, Chief Superintendent Todd, West Midlands Police said they use the best investigator for the job regardless of their rank or grade.

However, if the investigation leads to misconduct proceedings then the chair of the panel must be at least one rank above the accused officer.

Lie two: Officers have to wear dress clothes for interviews 
Officers suspected of being corrupt have been seen marching into their interviews with AC-12, wearing full dress uniform.
In Sunday’s episode, PC Maneet Bindra who tricked another officer into giving her his computer passwords in season four was interviewed, she arrived in full uniform.

‘They always get dressed up in dress uniform when being interviewed by AC-12. I strongly suspect people don’t do that,’ on Twitter user wrote.

‘Yes, that is way off the mark,’ Chief Supt Todd replied. ‘The only time people wear tunics these days is at formal ceremonies, awards etc.
The TV does like to put people in tunics, especially senior officers.’

In series four, Chief Inspector Hilton – who was killed off in the final episode – was also frequently seen in full uniform.

Lie three: Undercover officers make their own rules  
In one episode, viewers saw undercover officer John Corbett gunning down bent cop Les Hargreaves, firing a shot at Steve Arnott and then breaking into the home of Ted’s wife Roisin Hastings, wearing a balaclava.

Confused by the rules, one Twitter user asked: ‘Are undercover officers ever permitted to commit serious offences (such as kidnapping, manslaughter, murder etc.) in order to ‘maintain their cover’?

Chief Superintendent Todd: ‘No, what you see here is for dramatic effect. They are police officers first and bound by the same principles of conduct.’

He also explained undercover officers ‘have to abide by the code of ethics and definitely don’t commit criminal offences as we often see happening in Line of Duty.’

He added: ‘Undercover work is a very specialist, and we can’t describe too much for risk of compromising tactics and the people involved.
‘But undercover officers (UCOs) are police officers first & still bound by the rules. The extent of behaviour in Line of Duty is exaggerated for dramatic effect.’

Lie four: Superintendents interview corrupt cops   
Another point Chief Superintendent Chris Todd cleared up on Twitter on Sunday was around interviews depicted on the hit BBC show.
Almost every AC-12 interview seen throughout the five series of the show has been conducted by Superintendent Hastings.

However, in reality they would not be conducted by such a high-ranking officer.
Chief Supt Todd: ‘If the superintendent is conducting the interview, something has gone wrong with our staffing levels.’

Lie five: Anti-corruption teams are armed  
In the dramatic series four finale, Hastings has a gun and shoots one of the balaclava-clad men who is holding a security guard hostage.
Meanwhile, series 3 ends with Kate running through the streets after corrupt cop DI Matthew ‘Dot’ Cottan, brandishing a machine gun.
Chief Superintendent Todd made a couple of mentions to the use of firearms during his question and answer session.

He said his own professional standards team is ‘not armed’ and said that the depiction of use of arms definitely takes away from the realism of the show

‘They use the proper acronyms and the proper references to regulations,’ he said.

‘But then they throw something ridiculous in like the Superintendent randomly having access to a firearm.’

Lie six: Police forces regularly investigate other forces   
Another Line of Duty fan asked Chief Superintendent Todd if police forces often get involved investigating other units.
In series four another police force was brought in to continue investigating Roz Huntley’s case, Operation Trapdoor, while she was being looked at by AC-12.

Chief Superintendent Todd said this does happen ‘occasionally’ if ‘there is independence required beyond their own Professional standards Department.

‘This might be if public confidence would only be secured through such independence, but invariably the Independent Office for Police Conduct would direct that.’

Lie seven: CCTV is the most important evidence in all police investigations  
Also discussed in the Twitter thread was the prevalence of CCTV in police investigations.
One person said: ‘TV Police shows love to portray CCTV as something of a magic wand when it comes to solving crimes. How frequently do you find recordings are actually vital to prove an individual’s innocence?’

Chief Superintendent Todd replied: ‘One of the biggest breakthroughs we have had in recent times is Body Worn Video.
‘This has negated many a mistaken or even malicious complaint. But it has also supported misconduct against officers through either public complaint or colleagues reporting inappropriate behaviour.’

He later added that CCTV ‘can be varied depending on distance, angles, lighting, quality of camera and equipment.
‘Consequently, it isn’t always as helpful as might be expected, but still it can be the crucial piece of evidence at times too. I’d rather have it than not.’

AC-12 often rely on CCTV footage to catch a corrupt officer. In series four the team spent hours tracking down video of Roz Huntley’s husband driving near Tim Ifield’s flat.

In the latest episode of series five Officer Fleming and the team relied on CCTV to know what was happening at the raid on the Eastfield depot.

Lie eight: Police officers all have cars for their own personal use  
One Line of Duty fan replied to Chief Superintendent Todd saying he was amused that in police TV the ‘default for every marked car is to drive with blue lights’ on.

The top officer replied ‘And they all have vehicles for their own personal use 24/7’, before adding that he usually takes the bus.
Both DI Fleming and DS Arnott are often seen in unmarked cars, thought to be theirs to use whenever they like, during the show.

Lie nine: Anti-corruption police are always investigating major scandals 
Several people asked how realistic the case load of AC-12 was, and if police forces’ really deal with such a high amount of ‘bent coppers’.
Chief Superintendent Todd put minds at rest and revealed that corruption isn’t as widespread as is portrayed on the show.

He said: ’Corrupt officers are very few and far between Line of Duty is the “midsummer murders” equivalent of professional standards work!’
Answering a similar question, he said: ‘It’s [corruption] very rare I’m pleased to say.

‘We had 65 allegations of misconduct per 1000 employees last year and the vast majority were minor misdemeanours. Not the sort of things portrayed in LoD in all but a small partial hand filling- not even a handful.

He later added: ‘I don’t have access to all data right now, but looking back since Christmas, we’ve seen 7 not proven cases, 7 dismissals, 2 final written warnings, 2 written warnings, 2 custodial & 1 driving ban.’

Lie 10: Professional standards teams are secretive and feared
In Line Of Duty the AC-12 office appears to be secretive and separated from the rest of the station, with only a select few officers appearing on the screen.

One person asked Chief Superintendent Todd: ‘Is your department as feared in your force as AC-12 with colleagues clamming up the moment you start investigating suspected misconduct?’

He replied: ‘No, we’re a really friendly bunch. The counter corruption unit is necessarily covert.

‘But the rest of the department is literally an open door, open plan environment and is vert welcoming, not like you see on Line Of Duty.’

https://www.dailymail.co.uk/femail/article-6927407/Police-Officer-separates-fact-fiction-Line-Duty.html

What errors or anomalies did you spot or what did you see that you’re not sure about?  Drop me a line and we can discuss your thoughts

 

 

Short Interesting Podcast

In case you missed it, BBC Radio 4 show Front Row broadcast a segment on how the police help writers of crime fiction.

It featured the renowned Peter James, author of the Detective Superintendent Roy Grace series of novels and crime writer Clare Mackintosh, who worked in the police force for 12 years before becoming an author.

The interview is conducted by John Wilson and lasts around 9 minutes.

You can access the podcast at the following link – How the Police Help Crime Writers and the segment can be found at around the 19 minute 30 second mark.

Happy listening.

Build Your Crime Scenes Using SADCHALETS

The police service in the UK is renowned for its jargon, abbreviations, acronyms and mnemonics.  Whatever name is given to these odd words, they are used as a way of improving an officer’s recall to remind them of more complex texts.  They are also a way of shortening radio or written communications, saving airtime or space.

However, such abbreviations could also assist you when formulating your story by using them as a prompt for what should be included or excluded from your text, to make sure it is realistic.  It may provide you with ideas of how to prolong or speed up your fictional investigation.

When it comes to incidents such as a house explosion or a crime scene such as a murder (or mass killings such as a car purposely driven at a crowd), the mnemonic SADCHALETS is often used by the police and could be used as a prompt when writing about such or similar incidents.

In policing situations, it refers to actions carried out by the police officers arriving first at the incident and the information needed to assist others who will be involved later on.  Each letter of the mnemonic relates to a prompting word or words as can be seen below.

• Survey scene on approach – the responding officer shouldn’t just turn up at a given location, they should take notice of what they experience on approaching the scene.  This requires use of all of the senses, not just sight.  A particular smell may help identify the presence of petrol for instance or a shrill sound may indicate an alarm activated in the vicinity etc.  The flow of a crowd may lead to or away from the scene e.g. most people would run away from a violent offender’s presence but run towards injured or trapped victims in the case of an accident or collision occurring.
• Assess situation on arrival – the attending officer needs to quickly and accurately determine what has happened and start to gather (even just mentally at this stage) information that will provide the answers to the following steps.
• Disseminate following details to Control – not only will the police control room want an update from the responding officer but they will need certain information so that they can carry out the tasks either identified from the scene (e.g. and ambulance is required at the scene) or that the controller does in all instances e.g. they have to update all logs created on the force database of calls for service or incident the police are requested or required to attend.  The controller will be responsible for sending additional resources to the incident and for passing relevant information to those officers e.g. they may direct armed officers to attend the scene where a firearm is suspected of being present and they will provide the armed officers any information that will help them carry out their role.
• Casualties (approx. number) – The sooner the number and type of casualties can be ascertained, the sooner the correct response can be requested of the other emergency services.  Any of them may have already been asked to attend the scene by a member of the public but the correct type and number of (medical/rescue) resources required may not be apparent from this call.
• Hazards (that are present or potential) – it is vitally important that the first responding officers quickly determine what hazards are or may be present at the scene so that the lives of others can be protected.  If a tanker lorry has toppled over, the officer should be trying to ascertain what if anything it may have been carrying and what dangers the product may pose. It may have held a dangerous chemical that can quickly debilitate anyone approaching it, so an early (and at a distance) assessment is vital.
• Access (best access routes and rendezvous points) – it may be that the first responding officer reached the scene via the best available route or only route but they must also consider how others, following them, should approach the scene taking into consideration many circumstances such as what hazards are present or possible, what type of vehicle may be following them and is the access suitable for them e.g. a parked car lined street may be problematic for a fire tender.  The officer must also consider the evidence that may be lost or preserved by using a particular route.
• Location (exact including map reference) – not may officers are able to identify map references from a physical location but they may be able to describe it more clearly and accurately than a member of the public, who may use a colloquial name for the location that doesn’t actually feature on a map.  It is possible that a number of calls are made to the police and each one uses a different location for the incident, particularly if it occurs at or near to a multiple junction street or road.
• Emergency services (present and/or required) – the person making the initial call to the police about the incident may not recognise that a particular emergency service may be required e.g. a car which has overturned and landed on its roof, may easily prompt the need for an ambulance for the injured occupants but having no knowledge of what the fire service can do,  they may not also be requested at the same time to help free trapped occupants from the vehicle.  The attending police officer should be better placed to determine who is and isn’t needed and to recognise those already present e.g. the difference between ambulance staff and a paramedic at the scene.
• Type of incident (vehicles, buildings etc) – what appears to be a fire at a factory may in fact be a vehicle on fire near to or inside a building, which may require a different response from that initially thought.
• Safety of all staff at scene – through accurate assessment of the scene, the first arriving officer will be able to identify risks that may affect themselves and others. Through correct and accurate dissemination, they can ensure the safety of others attending the scene e.g. the need to ensure that armed officers attend the scene of an incident before unarmed officers, where weapons may be used against others.

You can use the above mnemonic and examples to assist telling your story by making sure that all of the elements of SADCHALETS has been considered if not written about e.g.

Survey – How many officers do you want to attend the scene in the first instances?  Using the senses, what do you want to describe and have them experience?  What do you want them to miss, that you can bring up later in the story?

Assess – Are your officers going to be competent and manage to assess the scene effectively or not?  What factors will you use to inhibit or improve their assessment?  Prior to their arrival, were they overworked and stressed? On arrival, did they find the scene distressing or traumatic?

Disseminate – Were they able to tell the right person the right information and did the person receiving the information act in the right way or not?  Was everyone in the chain of communication competent?  Did the right people get the information they needed or not? Can you create conflict through wrongful dissemination?

Casualties – How many and what type of casualties do you want in the story?  Will they be hysterical, very subdued, badly or minimally harmed?  Who will be helping or harming them on arrival of the police?

Hazards – Are there any hazards within or around the scene of the incident?  Do you want to complicate matters further by introducing any (additional) hazards and if so what?  Will they affect just those already at the scene or those yet to reach it?  What part will the hazard play in the story and what use will it be in taking it forward?

Access – How would you describe the access route?  Is everyone that needs to, able to reach the scene easily or will they be obstructed by something and if so what and how will they surmount it?  Will problems be created by someone accessing the scene in the wrong way?

Location – What location are you going to use?  Do you need to consult a map for ideas regarding access and hazards etc.?  How will you describe the location to the readers?  How will the location impact upon access and safety?

Emergency Services – Who do you want involved at the start of the incident, who do you want to omit, why and for how long?  By omitting or unnecessarily including one, can you introduce conflict into the story?

Type of Incident – What type of incident do you want to feature in the story and is it a means to get characters involved or revealed or is it a significant actor in the story in itself?  Do you know enough about such chosen incidents or do you need to research them?  Will the type of incident allow you to include the elements above?

Safety – How safe do you want the scene to be?  Do you want to increase the risks and if so, how and why?  Who do you want effected by an unsafe environment and why?  How can you ensure that the environment remains safe and who will be responsible for its safety or otherwise?

Hopefully, you will be able to use some of this article to explore, strengthen and deepen your ideas, narratives, dialogues and stories.  If so, please feel free to share the post with others and if not, please feel free to provide me with your feedback.

Don’t forget that you can acquire much research material and answers to your questions from within any of the three books shown on this page – just click on the image to purchase a copy if you haven’t already got one.

How to Make Your Lead Detective Credible

How many times have you come across fictional lead detectives or Senior Investigating Officers (SIOs) with no idea where they came from?  It’s almost as if they were born a lead detective or joined the police to automatically become one.

I’m sure that you already know that in the UK,  it isn’t possible and never has been for a person to join the police as a detective, let alone a Senior Investigating Officer.  You’ll no doubt also know that it’s not possible for any old cop to get to those dizzy heights without the right amount and type of experience or training.

Now, if you are reading the nth book in a series, it may be that the SIO’s development and career progression are discussed in earlier book in the series but in all likelihood, there will be no mention of how they got to the pinnacle of their career or what they had to do to become the leader of a complex murder investigation.

The reason that you will come across such instances and maybe even be guilty of doing something similar yourself, is probably because not many authors happen to have a close relationship with a police officer who has years of experience of policing in the UK that they can call upon to answer accurately and reliably, their troubling questions about the police, their policies and procedures.  Maybe no-one has taken the time to explain to you or the writer of the story you are recalling, just what it takes to become an SIO and lead a murder investigation in the UK.

But never fear.  Help is at hand for those of you wanting to learn about what it takes for a police officer to become an SIO and thereby make your lead detective more credible and identify areas where conflict may stem or opportunities arise from.

A Writer’s Guide to Senior Police Investigators in the UK will take you through – 

• What exactly a lead investigator and Senior Investigating Officer is
• How they become one
• What training they undertake
• What 38 qualities and expectations they are expected to exhibit
• You will find 27 specific ideas of how to take your stories forward and/or create conflict in them
• There are also hyperlinks to 79 websites or documents that you may find useful in building up your understanding of what a Senior Investigating Officer needs to know and apply during a major investigation.

Not only will this book provide you with details of how a police officer can become a Senior Investigating Officer but it can help with plotting your novel and creating twists and conflict along the way.

It’s crammed full of expert knowledge and advice that you can use to captivate your readers with compelling dialogue and narrative.

Just a couple of the five-star reviews state:

I have never felt compelled to write a review before but in this case I felt it only right to do so. I am an ex-police officer in the middle of writing my first crime-related novel and I have to say how invaluable this book has been to me. I thought I was doing well with my descriptions of procedures and command structures but I cannot believe just how much the job has changed since I left.

If I hadn’t bought a copy of this (I also have the authors other titles) I would have made myself look like a rank amateur stuck somewhere in the 90’s. This book has saved me hours upon hours of research and helped me re-think certain parts of my book and for that alone, thank you Mr Robinson.

I only wish these books were available in paperback format. I’d have a copy of them as well. Call me old fashioned, but I like a book I can flick through and mark up where necessary and as much as Kindle comes close to a book experience it doesn’t really work quite as well with this kind of book in my opinion. That said, no other format allows for hyperlinking to other valuable resources so, swings and roundabouts.

All in all, a superb, densely packed no fluff resource that is worth far, far more than what it is being offered at.

Another great book from retired UK Police Inspector, Kevin N. Robinson! Packed full of useful info – really helpful for anyone with an interest in how the UK police force works, especially with regards to those investigating crime. A gem for writers & crime fiction authors. It’s the little details that make a story authentic and it’s great to have a source which collects all the necessary info, such as what an inspector would normally carry with him (would he have a forensic suit? gloves? what weapons? etc) – particularly for those less familiar with British police (who are quite different from the armed US law enforcement officers you see more commonly on TV!)

So This is Where I’ve Been Lately

Was it laziness; a change in direction or some dark secretive undercover operation?

You may have noticed a distinct reduction in the number of posts I’ve published over the last few months but I can now report that my time hasn’t been wasted in the snooker halls of Yorkshire or the pool halls of some distant land.

Much of my time has been spent helping authors with their police and crime type questions and I’m please to announce that several of them now have their work published and made available via Amazon.  Before you think this is a simple ploy of mine to acquire passive income as an Amazon affiliate or something like that, it isn’t.  I have nothing to gain (other than pride) by letting you know that there are some very good books hitting the market place at the moment where I have been acknowledged as the police advisor to the respective authors.

Without further a do, I’d like to introduce you to them –

Echoes of Justice (DI Matt Turrell Book 2) by JJ Franklin

When Kathy Wylde sets out to take revenge on the gang of youths who kicked her son, Jack, to death, she finds herself on the wrong side of a vicious and dangerous criminal.

As Detective Inspector Matt Turrell, of the Warwickshire Police, investigates the first gang member’s death, another is brutally murdered. DI Turrell and his team must move fast to protect anyone connected to Jack’s murder – including Kathy.

Unaware that she is now the hunted and in grave danger, Kathy selects Harry as her next victim but soon finds herself growing fond of the young man. With the killer drawing close, will the unlikely pair be able to work together in an attempt to survive? Can DI Turrell stop the killer before he strikes again? Or will he have to sacrifice himself to save them?

Echoes of Justice is the second in the series of novels featuring DI Matt Turrell of the Warwickshire Police. It is a psychological thriller/police procedural set in and around Stratford-upon-Avon.

This is JJ Franklin‘s Second novel in the Matt Turrell series, the first one being Urge to Kill

Scared to Tell: Featuring Detective Annie Macpherson by Barbara Fagan Speake

When Belinda Mancuso is found frozen to death in the grounds of her residential unit, it appears to be a tragic accident. Yet this incident comes on top of anonymous reports already circulating about the unit. Suspicions are raised that systematic abuse may be going on in the Elms but there is a conspiracy of silence. Scottish Detective Annie Macpherson, returning to work in Connecticut, is asked to operate undercover in the unit. As the Elms provides respite care mainly for individuals with intellectual disabilities, Annie’s family circumstances make her the obvious choice. Annie has never worked covertly before and the assignment challenges her, on both a personal and a professional level.

Ellie Harrington is looking for a final project to complete her degree in journalism. When the opportunity arises to do voluntary work in the Oaks, a sister unit to the Elms, she can’t resist. While spending time there conducting interviews, her journalistic instincts tell her something is wrong, very wrong.

For both women, ascertaining what is really going on behind closed doors becomes the highest priority but will Ellie Harrington’s naïve enthusiasm jeopardise the work that Annie is doing? Could both women find themselves in grave danger from a very powerful and ruthless set of conspirators? At the core of it, are the vulnerable residents simply too scared to tell their stories?

This is Barbara’s fourth book in the Detective Annie Macpherson series of books

A Scone to Die for by H.Y. Hanna

When an American tourist is murdered with a scone in Gemma Rose’s quaint Oxfordshire tearoom, she suddenly finds herself apron-deep in a mystery involving long-buried secrets from Oxford’s past.

Armed with her insider knowledge of the University and with the help of four nosy old ladies from the village (not to mention a cheeky little tabby cat named Muesli), Gemma sets out to solve the mystery—all while dealing with her matchmaking mother and the return of her old college love, Devlin O’Connor, now a dashing CID detective.

But with the body count rising and her business going bust, can Gemma find the killer before things turn to custard?
(*Traditional English scone recipe included)

This is the first book in the Oxford Tearoom Mystery series.

 

Tea with Milk and Murder by H.Y. Hanna

While at an Oxford cocktail party, tearoom owner Gemma Rose overhears a sinister conversation minutes before a University student is fatally poisoned. Could there be a connection? And could her best friend Cassie’s new boyfriend have anything to do with the murder?

Gemma decides to start her own investigation, helped by the nosy ladies from her Oxfordshire village and her old college flame, CID detective Devlin O’Connor. But her mother is causing havoc at Gemma’s quaint English tearoom and her best friend is furious at her snooping… and this mystery is turning out to have more twists than a chocolate pretzel!

Too late, Gemma realises that she’s could be the next item on the killer’s menu. Or will her little tabby cat, Muesli, save the day?
(** Velvet Cheesecake recipe included!)

This is the second book in the Oxford Tearoom Mystery series.

 

Spare me the Truth by CJ Carver

Dan Forrester, piecing his life back together after the tragic death of his son, is approached in a supermarket by a woman who tells him everything he remembers about his life – and his son – is a lie.

Grace Reavey, stricken by grief, is accosted at her mother’s funeral. The threat is simple: pay the staggering sum her mother allegedly owed, or lose everything.

Lucy Davies has been forced from the Met by her own maverick behaviour. Desperate to prove herself in her new rural post, she’s on the hunt for a killer – but this is no small town criminal.

Plunged into a conspiracy that will test each of them to their limits, these three strangers are brought together in their hunt for the truth, whatever it costs. And as their respective investigations become further and further entwined, it becomes clear that at the centre of this tangled web is a threat more explosive than any of them could have imagined.

CJ Carver has published seven other novels and this is the first in the Dan Forrester series.

To see details of all of the published authors I have helped and with which books, please visit the Supported Books link at the top of this Page

Finally I must mention that I have also been tied up putting together the updated and expanded British Police and Crime Directory for Writers and Researchers 2016, which you can acquire by clicking on the link above or the image below.

All the Research Material You Could Need, for the Price of a Coffee

Available from March 2016 is the British Police and Crime Directory for Writers and Researchers 2016.  Not only have the links in the 2015 edition been checked and verified but over 70 pages of extra links have been added.  This now means that you have immediate access to contact details of the 72 police and other law enforcement agencies and departments; more than 350 manuals, documents and guides about the police, investigating crime and criminals; 85 websites that provide you with other exciting and useful information; 69 video clips to increase your understanding and knowledge about the police at work; 42 social media links that will keep you updated and informed, along with links to 85 books about the police, policing, crime and writing crime fiction that you will find invaluable.

Go down the traditional publishing route and you will find an editor telling you to get your policing facts checked out: go down the self publishing route and its down to your own self-discipline and professionalism.

You will find that most bestselling authors have conducted meticulous research or employed someone to do it for them.

Using this book, you will no longer find it difficult or time-consuming to locate the facts about the police in the UK, that you need for your novel.

You don’t need to spend time and effort tracking down a reliable source of information. You can free yourself from futile research.

You can save time wasted looking for facts you can trust and focus on what you do best – writing.

Treat yourself to the latest edition of the British Police and Crime Directory for Writers and Researchers and turn yourself from a nervous, unsure novice to a confident, knowledgeable, professional author.

Please feel free to share this news with your friends and colleagues.

999 or 101

There are two telephone numbers associated with contacting the police in the UK.  In an emergency we are told to call 999 and in non-urgent cases to use the 101 number but many face the dilemma of not really understanding what constitutes an emergency or non-emergency.

Warwickshire Police have done a nice job in providing a simple guide explaining when to use which number and to save you searching for their information, I have reproduced it below –

When should I use 999 (or the alternative emergency number 112)?

999 is for reporting emergency situations only; below is a helpful mnemonic to remember when to use it.

P Phone 999 only if

O Offenders are nearby

L Life is at risk

I Injury is caused or threatened

C Crime or disorder is in progress

E Emergency situations

When should I use 101?

• if you’ve had a minor traffic collision
• if your property has been damaged
• if your car has been stolen
• if you suspect drug dealing
• if you’ve witnessed a crime
• if you have information about criminals in your local area
• if you’ve seen a missing person
• if you need crime prevention advice
• if you want to speak to a local police officer/ your local Safer Neighbourhood Team
• if you want to speak to the police about any other incident that doesn’t require an immediate response
• if you want to make us aware of any policing issues in your local area

Now that you know, feel free to pass it on to your friends and family or include it in one of your stories.

You can find more information about the police by following the links in the updated and expanded British Police and Crime Directory for Writers and Researchers 2016, which you can acquire by clicking on the link above or the image below.

You can also check out many more facts about policing in 218 Facts a Writer Needs to Know About the Police.

 

Start Your Interview in the Right Way Part 2

In Part 1, we looked at how a police interview with a suspect in a police station should commence.  If you missed Part 1, you can review it here.

This post looks at what MUST be said next by the interviewing officer.  If they fail to say these words or others that describe the same thing in simpler terms for someone unable to understand the phraseology, anything said that may be used as evidence against the suspect, may and probably would be excluded from any subsequent court case.

YOU DO NOT HAVE TO SAY ANYTHING. BUT IT MAY HARM YOUR DEFENCE IF YOU DO NOT MENTION WHEN QUESTIONED SOMETHING YOU LATER RELY ON IN COURT. ANYTHING YOU DO SAY MAY BE GIVEN IN EVIDENCE.

This can be broken down as follows, to ensure the suspect understands:

• You do not have to answer my questions.

• However, should this matter go to court and you tell the court something which you could have reasonably told me during this interview, the court may be less likely to believe you and that could harm your defence.

• The tapes of this interview may be played in court, so the court will be able to hear what you have said.

Only after the introduction in Part 1 and this Caution are said to the suspect, can the interview start in earnest.  Failure to address either part may render any information, evidence or admission that subsequently comes to light in the interview, may be excluded from the prosecution case put before the court.  Therefore, if there is no corroborating evidence to the confession, the case may well be thrown out of court, if it ever gets there in the first place.

For more information you may find useful, follow the links in the updated and expanded British Police and Crime Directory for Writers and Researchers 2016, which you can acquire by clicking on the link above or the image below.

You can also check out many more facts about policing in 218 Facts a Writer Needs to Know About the Police.